Adrian Boult Elgar Symphonies No. 1 & 2 2 SACD Hybrid TOWER RECORDS PSL
Number of discs: 2
Edition: Remaster
[Tracklist]
Edward Elgar: Symphonies Nos. 1 & 2, Enigma Variations, Pomp and Circumstance Marches
<DISC 1> Total time 79:49
1. Symphony No. 1 in A-flat major, Op. 55
2. Enigma Variations, Op. 36
<DISC 2> Total time 78:33
3. Symphony No. 2 in E-flat major, Op. 63
4. Pomp and Circumstance Marches Nos. 1–5, Op. 39
[Performers]
London Philharmonic Orchestra
Adrian Boult (Conductor)
[Recording Dates & Locations]
20 & 25 September 1976 (Symphony No. 1, Mvts. 1–3), 8–9 August 1961 (Enigma Variations), 3 November 1975 & 2 & 7 January 1976 (Symphony No. 2),
16 December 1976 (Pomp and Circumstance Nos. 2 & 3), No. 1 Studio, Abbey Road, London
10 October 1976 (Symphony No. 1, Mvt. 4; Pomp and Circumstance Nos. 4 & 5), 10 January 1977 (Pomp and Circumstance No. 1), Kingsway Hall, London
[Original Recordings]
Producers: Christopher Bishop (1, 3, 4), Anthony C. Griffith (2)
Balance Engineer: Christopher Parker
[Original Label]
Warner Classics (formerly EMI recordings)
These four supreme works—captured in studio recordings by Adrian Boult, the ultimate authority on Elgar's music, with the London Philharmonic Orchestra—are now released on SACD for the first time! For this release, the audio has been newly remastered from the original analog master tapes. Includes new liner notes by Kenichi Mizukoshi, Representative of the Elgar Society of Japan.
Four works—renowned as the pinnacle of recordings by Sir Adrian Boult (1889–1983), an "authentic" heir to and interpreter of Elgar's music—are now available on SACD for the first time. Boult left behind multiple recordings of the same works, all of which are highly acclaimed. This reissue focuses on representative Elgar works recorded with the London Philharmonic Orchestra. The two symphonies come from his final studio sessions (1975–76), and the *Pomp and Circumstance Marches* are from 1976–77 recordings; for the *Enigma Variations*, the 1961 version was selected from his two stereo recordings (the 1970 recording with the London Symphony Orchestra was released previously in this series). For this release, masters digitized at 192kHz/24bit from the original UK analog master tapes were used, with separate mastering for the SACD and CD layers. Includes new liner notes; a definitive edition for your collection.
There is no doubt that Boult's Elgar recordings are not only historical legacies but also serve as the "bible" for Elgar performance today. Having recorded the same works multiple times—spanning the mono era to the stereo era—he demonstrated varying interpretations based on the time and location. Thanks to recent releases such as the complete Warner sets (covering both mono and stereo recordings), we can now enjoy comparing these versions and fully appreciating the breadth of his artistry. Boult left behind a vast legacy of acclaimed recordings, and through this series, we have been tracing his achievements by reissuing titles such as the *Brahms: Complete Symphonies* (2018; TDSA72), *Vaughan Williams: Complete Symphonies* (2022; TDSA225), two stereo-era versions of *The Planets* (2023; TDSA288 & 289), and two discs of concerto accompaniments.
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Tower Records (June 26, 2026)
In addition to the above, we are now proud to release works by Elgar—a composer who truly embodies the essence of Boult’s artistry. The two symphonies included here stem from the very final recording sessions of his late career. While there are multiple stereo recordings of Symphony No. 2—a work Boult championed tirelessly to establish its reputation—the 1975–76 recording with the London Philharmonic stands as his definitive statement and an enduring masterpiece. Naturally, the famous Symphony No. 1 is also a performance of the highest caliber; it radiates the lucid nobility and dignified spirit characteristic of Boult’s late-period interpretations, leaving nothing more to be desired. As for the *Enigma Variations*, we have selected the earlier 1961 recording with the London Philharmonic rather than the better-known 1970 stereo remake with the London Symphony Orchestra (which was previously released by us paired with the 1978 *Planets* on TDSA289). While the 1970 version has its admirers, the 1961 recording is a magnificent performance that perfectly aligns with Boult’s natural sensibilities. It benefits from his deep rapport with the London Philharmonic and captures a tonal quality from a time before the UK—like France and Germany—became fully internationalized, preserving a distinctively British character that had not yet faded. This performance deserves attention for qualities that distinguish it from the 1970 recording. Regarding *Pomp and Circumstance*, although the abridged version of March No. 2 is used, the performance as a whole is characterized by a natural approach and great elegance. The four works included here are all recorded with the London Philharmonic Orchestra, adding to their value; thanks to the enhanced sound quality, which offers a greater sense of presence than ever before, we hope this superb, fully realized music will reach a wide audience. The accompanying booklet features new liner notes by Mr. Kenichi Mizukoshi, Representative of the Elgar Society of Japan; this text is a must-read for anyone wishing to deepen their understanding of Boult and Elgar.
In this series, the SACD layer aims for high resolution and a rich soundstage, combining extended high frequencies with delicate nuances, while the CD layer targets a cohesive, solid sound with a tangible, forward-projecting tone. The CD layer itself offers high potential, so we encourage listeners to enjoy the disc as an SACD hybrid, savoring the strengths of both formats. The booklet includes newly written commentary, and the cover art reproduces the design from the original monaural release. This release marks the 75th installment of the "Definition Series," comprising two titles.
<Audio Restoration Concept>
For this project, we began with 192kHz/24-bit WAV data sourced from the country of origin. We performed separate mastering processes for the SACD and CD layers—converting to DSD for the SACD layer and mastering in PCM for the CD layer—rather than relying on a single mastering session (such as editing in PCM and converting to DSD, or vice versa). Instead, we mastered each layer individually, prioritizing the unique characteristics and sound quality of both SACD and PCM formats. Throughout the process, we conducted comparative checks against past releases and strove for optimal mastering that respects the original analog master tapes, ensuring the music is presented to its fullest potential.
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